El cencerro (1937)
La payanca (1936)
El flete (1936)
“In my view, the tango is above all rhythm, nerve, force, and character.”
In the midst of the Infamous Decade, when musical innovators like Julio De Caro had already appeared on the tango scene, D’Arienzo’s rhythm, nerve, force, and character returned to the mythical jovial, picaresque, roguish roots of the tango. Supposedly, Aníbal Troilo once admonished other musicians who dismissed D’Arienzo as simple and repetitive by reminding them that without him, they would all be out of work.
When these tangos were recorded, Rodolfo Biagi was still D’Arienzo’s pianist, and the legend goes that in the late 1930s this orchestra filled the Cabaret Chantecler up with enthusiastic dancers.